Dora Labbette Vídeos
cantante de ópera británica
Conmemoraciones 2024 (Muerte: Dora Labbette)
- Reino Unido, Reino Unido de Gran Bretaña e Irlanda
- cantante de ópera
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2024-05-21
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Sir Thomas Beecham Dora Labbette Muriel Brunskill Harold Williams George Frideric Handel 2022
Provided to YouTube by SonoSuite Messiah: Part 1: There Were Shepherds Abiding in the Fields · Sir Thomas Beecham · Dora Labbette · Muriel Brunskill · Hubert Eisdell · Harold Williams Handel: Messiah, HWV 56 ℗ Cris Music Released on: 2022-03-25 Composer: George Frideric Handel Auto-generated by YouTube.
Handel Sir Thomas Beecham Dora Labbette Muriel Brunskill Harold Williams Lamb Borne Bbc Chorus 1882 1893 1898 1899 1927 1948 1976 1980 1984
Handel's "Messiah" Parts 2 and 3, conducted by Sir Thomas Beecham, recorded in 1927 in Westminster Central Hall; Original Columbia Records 9328 to 9337 inclusive, played on an HMV Model 163 cabinet gramophone. Obviously with records over 90 years old, some surface noise is inevitable. The soloists are:- Soprano - Dora Labbette +••.••(...)) Contralto - Muriel Brunskill +••.••(...)) Tenor - Hubert Eisdell +••.••(...)) Bass - Harold Williams +••.••(...)) The Chorus is the BBC Chorus Approximate start times of the items (minutes and seconds) are as follows:- 00-00 Behold the Lamb of God (Chorus) 03-54 He was despised (Muriel Brunskill) 09-59 Surely He hath borne our griefs (Chorus) 12-49 And with His stripes we are healed (Chorus) 14-46 All we like sheep have gone astray (Chorus) 18-46 All they that see Him (Hubert Eisdell) 19-37 He trusted in God that He would deliver Him (Chorus) 21-49 Thy rebuke hath broken His heart (Hubert Eisdell) 23-56 Behold, and see if there be any sorrow (Hubert Eisdell) 25-46 He was cut off out of the land of the living (Hubert Eisdell) 26-19 But Thou did'st not leave His soul in hell (Hubert Eisdell) 29-18 Lift up your heads (Chorus) 32-42 How beautiful are the feet (Dora Labbette) 35-53 Why do the nations so furiously rage (Harold Williams) 38-34 Let us break their bonds (Chorus) 40-00 He that dwelleth in heaven & Thou shalt break them (Hubert Eisdell) 42-10 Hallelujah! (Chorus) 45-52 I know that my Redeemer liveth (Dora Labbette) 52-52 Since by man came death (Quartet and Chorus) 54-44 Behold I tell you a mystery & The trumpet shall sound (Harold Williams) 58-53 Worthy is the Lamb & Blessing and honour (Chorus) Note:- This recording, as checked with a contemporary Columbia Records Catalogue, comprises two 9 -disc albums of records 9320 to 9337 inclusive, the second of which is reproduced here. It is clear that the final Chorus "Amen" was rather surprisingly not included in the recording, which is why it does not appear here.
Handel Dora Labbette Sir Thomas Beecham 1927 1930 2009
This lovely recording by Dora Labbette, Soprano is from a collection of 12 recordings made in the 1930's (Now know to be 1927) in the Central Hall, Westminster London UK Speed 80 (78) The BBC Orchestra conducted by Sir Thomas Beecham The records on Columbia (9335) came from Canterbury bought on ebay as part of a sale and sustained water damage to the folder before the sale, but not the records. I have not cleaned them yet so what you hear is probably the first playing for some 50 years! The owner emigrated so I saved them from the tip ! The record player is a Bush PS50 two stage amp under restoration for George a colleague at work. The Video is in my Garden in Kent on the hottest day of the year 1st June 2009 in the UK Enjoy
Dora Labbette Squire Sir Thomas Beecham Liza Lehmann Lehmann Delius Rameau Mock Debussy Mortimer Wigmore Hall Covent Garden Carl Rosa Opera Company 1882 1898 1907 1917 1918 1929 1930 1933 1934 1935 1937 1940 1948 1984
Recorded in 1929 with the J. H. Squire Celeste Octet Dora Labbette (4 March 1898 / 3 Sept 1984) was an English soprano. Her career spanned the concert hall and the opera house. She conspired with Sir Thomas Beecham to appear at the Royal Opera House masquerading as an Italian singer by the name of Lisa Perli. Away from professional concerns she had an affair with Beecham, with whom she had a son. Labbette was born Dorothy Bella Labbett in the London suburb of Purley, the daughter of a railway porter. She studied at the Guildhall School of Music, where she won the Melba scholarship, the Knill challenge cup for the best student of the year, and the Heilbut scholarship. She also studied with Liza Lehmann, who took her to sing to the music publisher and impresario William Boosey, who gave her a contract to sing songs published by his company, at "Ballad concerts, Promenades and Sunday evening concerts". She made her Wigmore Hall début in 1917, and in April 1918 married a soldier, Captain David Strang of the Royal Engineers. He wanted her to abandon her musical career, but she refused and left him after nineteen months of marriage to continue singing. She had a long recital and oratorio career in which she appeared in London and in the provinces. She was the soprano soloist at the first performance of Delius's Idyll in 1933. After making her operatic debut in Oxford in 1934, in Rameau's Castor et Pollux Labbette took the role of Mimì in La bohème at Covent Garden in 1935, using the mock-Italian name "Lisa Perli", after her birthplace, Purley. The press and public were not long deceived by the pseudonym, and she was rapidly accepted as an opera singer. When the hoax was revealed, The Gramophone published a short verse which included the lines: Dora Labbette! Dora Labbette, O! We rather like our pocket prima donna, Who sings as well as any twenty-tonner. Will Perli last? Will she become a habit, Or dwindle back into Miss Dora Labbette? In a later interview, Labbette explained that she had found it impossible to break out of the concert and oratorio repertoire into opera. "As for the Messiah, the Creation and Elijah, I must have sung the leading soprano parts in these oratorios hundreds of times, until I felt I would shriek if I were asked to do them again.... But it seemed quite hopeless and against all tradition that a singer who had been identified with the concert platform should desire to appear on the operatic stage." The critic Neville Cardus wrote of her, "Lisa Perli is the best of our Mimis. She has a genius for diminutive pathos and in the closing scene she can bring moistness to the throat of the hardened critic." After this operatic success, she went to Paris and studied Debussy's Pelléas and Mélisande, subsequently singing Melisande at Vichy and Bordeaux and at Covent Garden the following summer. In the autumn of 1937 she sang Mimì in La Bohème at Berlin, Munich and Dresden. After the first performance in Berlin, she was engaged to sing Mignon in German. Her other operatic roles included Desdemona in Otello, Juliette in Roméo et Juliette, and Marguerite in Faust.[12] The New Grove Dictionary of Opera said of her: "Her voice was true, pure and youthful, and she was an outstanding actress." Labbette made many gramophone records, including the first complete Messiah, conducted by Sir Thomas Beecham, with whom she had an affair lasting thirteen years, which produced a son, Paul. World War II cut short her London career, and her last operatic performances were on tour with the Carl Rosa Opera Company. Among her last concert performances was in The Creation, with Beecham, in Sydney in 1940. Hubert Eisdell, tenor, teacher +••.••(...)) Hubert Mortimer Eisdell, an English tenor who settled in Canada in his later years, enjoyed considerable success on the concert stage in both England and Canada. While his musical training and earliest performances took place in England, Eisdell made several visits to Canada between 1907 and 1930. After taking up permanent residence in Ontario in 1933, he became involved in the Canadian music scene as a performer and teacher. For a detailed biography visit (http•••)
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- cronología: Cantantes líricos (Europa).
- Índices (por orden alfabético): L...